Anyone involved in Seattle’s active jazz community knows respected bassist Anderson, a solid contributor for many years. But what about that “other” Clipper Anderson? I’ll bet you didn’t know about Clipper Anderson, the singer. In an era of “dimea- dozen” female singers, how often do we encounter a male jazz singer? Not often, and that makes Anderson’s debut vocal album all the more a winner. He conveys that “I’ve been there” feeling in his approach to a lyric. This elusive quality comes mostly from within. And Anderson “gets it.” With Seattle colleagues Darin Clendenin on piano and Mark Ivester, drums, Anderson shines on an entire program of standards, mostly ballads. Among numerous highlights, how about these: the title tune, Tommy Wolf and Fran Landesman’s opus; Cole Porter’s resonating melody, “Everything I Love”; a tender sleeper called “Why Did I Choose You”; and Kurt Weill’s optimistic, “Here I’ll Stay.” Finally there’s Billy Strayhorn’s final composition, “Blood Count.” Anderson’s take on this jarring emotional entry compares favorably to the drama brought to it some years back by Mark Murphy. On all these and more, Anderson’s first venture into “vocal land” is no novelty. It’s first rate jazz singing. Origin; 2013; appx. 53 minutes.

Hidden in the basement of Pacific Lutheran University in Tacoma, Washington is bassist/vocalist Clipper Anderson. Not ringing any bells? That's because he has been a sideman, buried behind the principals on upwards of 60 recordings while recording as leader on two previous releases: And to All a Goodnight (Origin Records, 2011) and The Road Home (Origin Records, 2012). Anderson follows up this latter recording with Ballad of the Sad Young Men, his first all vocal outing performed in the intimate confines of the piano trio.

Clipper Anderson's voice is more Tony Bennett than Frank Sinatra and way more Tony Bennett than Johnny Hartman, as has been reputed. His voice is not perfect, but possesses a certain uniqueness making it an exceptional vehicle for his broad repertoire. His singing is effortless in the natural way of self-effacing singers who show no tentative self-consciousness, only pure sound and honesty. Anderson shares this trait with labelmate Jeff Baker--Baker Sings Chet (OA2 Records, 2004)--who possesses these same attractive vocal characteristics.

Anderson is thoughtful in his song selection by not challenging the listener with one more "My Funny Valentine." In fact, "It Never Entered My Mind" and "Only The Lonely" are about the most common standards on this disc of a dozen ballads. The title cut and {{Billy Strayhorn's "Blood Count" are better examples of the deep loam of material from which Anderson draws. Instrumentally, the trio makes the unassuming and competent music necessary to accompany a vocalist, while shifting into virtuosity when called upon to solo. Anderson's bass possesses a sure internal metronome that swings bolstered by drummer Mark Ivester equally-measured sense of time. Pianist Darin Clendenin is the soul of discretion and taste, whose solos are miniature recitals. Tastefully rendered music.

Ballad of the Sad Young Men: In which we find the piano jazz trio amiably recreated as a cabaret act with the singing bass player at the wheel. Digging into the oldies vocal canon and blowing off all the obvious choices for some more daring and overlooked picks, the sum total is a grand set of sophisticated listening by one of those rare male vocalists that doesn't feel the need to ape Robert Goulet or Tony Bennett. There isn't a false note in the bunch and this set almost puts the cocktail in your hand before you know how it got there.

A travel theme runs through the tunes on "The Road Home," most of which progress at a fast pace, anchored by Clipper Anderson's light, bouncy improvisations. This Northwest-based bassist's stellar debut as a solo artist covers a lot of ground, from Bill Evans' heady, complex "Twelve-Tone Tune Two" to the Portugese original "Esperancoso Destino" and soaring ballads like the title track, which was inspred by a stretch of I-90 that runs through eastern Washington. Anderson's light, full bass tone sings the melody on Rodgers and Hart's "Over And Over Again," include on the disc as Anderson's tribute to Paul Desmond. Anderson's equally full arco tone takes over on "Jimnopodie" by pianst Jack Brownlow. It was in Brownlow's band that Anderson started singing with his own voice, and "Only Child" serves as his official vocal introduction to the world.

An anchor for the Seattle jazz scene for twenty-plus years, bassist Clipper Anderson has finally released his first album as a leader. On the majority of The Road Home, Anderson performs with longtime collaborators, pianist Darin Clendenin and drummer Mark Ivester, and it is truly a pleasure – their history and ease of communication come through on every tune of the album. Of particular note is the inclusion of Jack Brownlow’s “Jimnopedie,” a simply beautiful tune by the now five-years-passed pianist – the album is worth your ear time just for this tune. Anderson has shown over the years how at home he can be in nearly any musical situation. It’s fabulous to hear him thrive in his own musical home on this album.

by Tom Ineck, Berman Music Foundation
Share on Facebook It is evident from the first lines of the opening track, Bill Evans' "Twelve Tone Tune Two," that this is the bassist's record. Despite the considerable talents and sensitive interplay of pianist Darin Clendenin and drummer Mark Ivester, Anderson's prodigious playing skill and booming, woody tone have an immediate impact on the listener.

The leader also impresses as the composer of six of the 11 tracks, including the lovely and lyrical title tune, a shimmering pastoral evocation of the Pacific Northwest where Anderson lives. "Esperancoso Destino" (Portuguese for "Hopeful Destination") is as bright and hopeful as its title and features a wordless vocal by Greta Matassa. Clendenin states the melody of the beautiful ballad "Say Yes Again," but Anderson contributes the perfect bass harmonies and solos with grace and imagination. The loping, mid-tempo "Nasty Gnomes" is a rhythmic gem, and "Can You Meet Me There?" is another heartfelt ballad. Like the title track, "Two Rivers" again evokes a rural journey. As the composer acknowledges in the liner notes, both tunes were influenced by Pat Metheny.

In addition to the original compositions, the cover tunes are well chosen. Richard Rodgers' "Over and Over Again" is taken at a brisk waltz tempo, aided by Ivester's brush work. Anderson's performance, including the introductory bowed section, on Jack Brownlow's "Jimnopodie" brilliantly echoes Erik Satie's haunting "Gymnopedies" that inspired it. "Poinciana" gets a wonderful trio treatment, with Clendenin stating the simple, but familiar melody as Anderson plays counterpoint and Ivester provides energetic percussion on both drums and congas. Piano and bass combine unison lines for a powerful ending. Appropriately, Bill Evans' ballad "Only Child" makes a nice bookend for the CD, and Anderson renders the lyrics with feeling.

With a strong debut like this, veteran bassist Clipper Anderson deserves more attention as a leader.

MUSIC REVIEW
Clipper Anderson, The Road HomeBy Ric Bang, Jazzscan.com
The group’s style lives up to a Seattle reviewer’s description: “for the connoisseur to savor.” This is excellent, lightly swinging jazz: the kind that demands repeated listening. The opening track, “Twelve Tone Tune Two” (another Bill Evans composition), is my favorite; the interplay between Anderson and Clendenin is marvelous. READ MORE >

MUSIC REVIEW
Clipper Anderson, The Road HomeBy birdistheworm.com
Jazz vet finally records an album under his own name. Clipper Anderson’s bass has been around, especially on the Seattle scene for some time now, and he leads a trio date (with some guests) for an elegant set of mainstream jazz. Bass, piano, drums, and some guest vocals provide for a warm series of tunes that has everyone sounding confident and professional. Some very nice moments, especially on “Jimnoprodie”, when Anderson does a little bowing on bass, and “Poinciana”, an up-tempo tune that has the trio racing along, but not so fast that anybody risks losing their breath trying to keep up.

MUSIC REVIEW
Clipper Anderson, The Road HomeBy WRUV Radio
Anderson’s debut recording as a leader. Cuts #2,4,5,6,9 & 10 are original compositions. A delicious variety of original and standard pieces and moods - pensive at times, breezy and all very nicely styled. Play all.

MUSIC REVIEW
Clipper Anderson, The Road HomeBy George Fendel, Jazz Society of Oregon
In the case of Seattle bassist Anderson, the “road home” is the ever changing scenery between Seattle and his boyhood home of Polson, Montana, population 4,500. Anderson pays tribute to that exquisite part of the country by performing a variety of original music and a few selections from other sources. READ MORE >

JAZZ PROFILE 2008
INTERVIEW: Clipper AndersonBy David Keys, cover photo by Steve KornWhat styles of jazz are you most and and least connected with?My tastes are rather ecletic. I'm known as a straight-ahead player, but I have trouble with labels. In reality, I've played, recorded and enjoyed different styles ranging from outside and free jazz to mainstream and smooth jazz.READ MORE (PDF) >

MUSIC REVIEW:
Greta Matassa | Clipper Anderson, And to All a Good Nightby Ken Dryden, All Music Guide
Vocalist Greta Matassa and bassist Clipper Anderson set out to make a Christmas CD that would stand out from the pack and they succeeded with And to All a Good Night. Bypassing most of the tradition's expected favorites, they drew little-known or forgotten songs from films, pop, and jazz, infusing them with thoughtful arrangements. READ MORE >

MUSIC REVIEW:
Greta Matassa | Clipper Anderson, And to All a Good Nightby John Henry, Audiophile Audition
This is definitely the Christmas CD to get if you want something jazzy and hip and not the same old same old. Of the dozen songs here, I think the only one that was familiar to me was Irving Berlin’s “Count Your Blessings.” Didn’t know there were so many appropriate popular tunes for the holidays that didn’t make the sophisticated listener grimace... Clipper Anderson reports that he’s known as "Mr. Christmas" around the house and has been collecting these tunes for some time now. He feels they deserve a wider audience, and hopefully this album will aid in that. READ MORE >

MUSIC REVIEW:
Greta Matassa | Clipper Anderson, And to All a Good Nightby Lee Mergner, JazzTimes
In this beautifully recorded and produced album from the underrated Origin label, holiday music is given a set of exquisite and precise arrangements. The Seattle-based Matassa is the chief lead singer, although co-leader and bassist Anderson takes a turn in the spotlight on a few songs....This one may have to make an annual appearance in my household. READ MORE >

MUSIC REVIEW:
Greta Matassa | Clipper Anderson, And to All a Good Nightby Doug Ramsey, Rifftides
Matassa is one of the best-known vocalists on the west coast, Anderson one of the most respected bassists. They have been a team for several years, with Anderson singing and playing in live appearances. Now, on record he makes it clear that he is a substantial vocalist with admirable timbre, intonation and phrasing. In his duet with pianist Darin Clendenin on "Count Your Blessings," for three minutes Anderson can make you forget that Bing Crosby owned the song. READ MORE >

LEADING QUESTIONS: CLIPPER ANDERSONBy
Steve Korn
Clipper Anderson is one of the Northwest’s leading bassists. Playing all styles on acoustic and electric bass, Clipper is a composer, studio musician, vocalist, and educator. He was described in Seattle’s premier jazz magazine Earshot as “a player for the connoisseur to savor.” READ MORE >